丹托跨界的藝術終結問題性

Abstract

本文旨在研究丹托「藝術終結論」所觸及跨哲學、科學、文化及藝術學科的議題出發，探討藝術進步歷史的問題、藝術分析工具的使用、去中心化及跨文化等問題性。並試圖回答「丹托文體的特殊性」、「丹托在藝術認識論方法學的突破」、以及「藝術終結論的影響性」等問題。第二章是「藝術進步歷史的終結理由」，以大敘述的藝術史內部的問題性導出藝術史學科本身方法上的限制，歸納進步史觀趨向終結的原因。第三章以「丹托藝術史哲學研究法與分析工具」為命題，藉以理解丹托形成藝術哲學的過程所使用的邏輯分析工具，驗證本文提出「分析美學工具的使用」為丹托發展新的藝術史方法學的實驗推論為真。第四章，以歐美為論述中心的藝術終結論是否存在「去中心、反現代與包容它者」等重要的文化思潮，從此探討理論背後的外部動機，是否也構成一種反藝術史藩籬的實踐。最後一章，以筆者自身的華人文化背景，並以中國藝術為例，重新審視及反思藝術終結論的「全球化」及「本質論」議題。

The purpose of this paper is to study the issues of interdisciplinary philosophy, science, culture and art, which Danto's "End of Art" touches on. These issues include: the history of artistic progress, the use of art analysis tools, decentralization and cross-cultural issues. The paper also attempts to address "the special characteristics of Danto's literary style, Danto's breakthrough in artistic epistemology methodology, and the influence of the "End of Art," as well as other issues. In the second chapter, "The Reason for the End of the History of Artistic Progress," the author analyzes the problematic nature of art history itself and the limitations of the methodology of art history. Reasons for the end of this progressive history are also summarized. Chapter 3 is titled, "Danto's Philosophy of Art History, Research Methodology and Analytical Tools." For the sake of understanding Danto's formation of art philosophy, this section looks at the logical analysis and analytical tools of his process. This section suggests that "the use of analytical aesthetic tools" is the experimental deduction which allowed Danto to develop a new art history methodology and that this deduction has been verified. In the fourth chapter, it is necessary to discuss the existence of notions in American and European art philosophy regarding "De-centered, Anti-Modern and Inclusiveness," as well as other important cultural thoughts. This section also discusses whether there are external motives which constitute barriers or forms of anti-art practices. The last chapter takes into account the author's own Chinese cultural background, and uses Chinese art as an example to re-examine and reflect upon the globalization of the "End of Art" philosophy and "Essentialism" issues.